"Susan Pile
had been working for Gerard part-time for free since the fall, coming down from
Barnard on the Broadway IRT every afternoon... Gerard was in his Benedetta Barzini
period, writing lots of poems about her, and Susan would type those up and work
on the anthology of writings by poets and kids we knew that was published the
next year, called Intransit, The Andy Warhol Gerard Malanga Monster Issue.

She'd [Susan] sit
Japanese-style on a cushion typing at a very low sawed-off silver desk with
a missing leg that had been replaced with a stack of magazines. One day as I
walked by, I overheard her telling Joey [Freeman] that she was going to have to look for
another job because she needed money. I told her that if she would stay and
type things for the Factory instead of just for Gerard, we'd give her money.
I asked her how much she thought she'd need, and she estimated that since she
was being partly subsidized by her parents, she'd only need about ten dollars
a week. (That was fifty trips on the subway then.) I immediately began giving
her lots of reel-to-reel tapes, the sound tracks to Chelsea Girls,
Kitchen, My Hustler, things like that, to type, and she did
some Ondine tapes that would go to become part of the Grove Press novel, A,
the next year..."(POP206-7)